I like how this gets more and more complicated.
Great choice on the 28th anniversary of the song being released.
It’s led me down a Youtube rabbit hole of different covers but sadly none really deliver the Trap style I’m looking for after hearing your interpretation.
Starting from the traditional tune I Saw Three Ships, recorded vox and sequenced synth, and then converted the recording to MIDI (FL Studio convert to score and dump to MIDI), thus transliterating it to a brand new medium. Doubled it and tweaked the tracks via Sytrus. Second part, translated the transliterated version to drums and synths. Finally I played the first two sections and tried to accompany it (extremely loosely)with a keyboard to indicate where the original song lay. Sections overlap. Mostly noise. Proceed with caution. Spicy and wet. Note that the original version is not included (lost clipboard data and all).
Basically it’s a horrible machine transcription that google translate then converted to another language. Finally an interpreter waves his hands in horror as he tries to explain how badly it went wrong while everything goes on at once.
Here is some Hot Popcorn in three tasty flavours, cheesy, salty or tropicana.
Field recordings, synths, electronic drums, accoustic drums, guitar, bass, lap steel guitar and way too much reverb.
The idea here was to translate, transliterate, and interpret a piece of music, so I selected Awakes, a piece I wrote last year that described my granddaughter when she wakes up.
The piece is in four sections. The first part is the initial sequence of what I originally wrote.
The second part has been translated. In this regard I thought of myself as a child, with more energy than one has a right to own, which offered its own set of problems.
The third part has been transliterated. I ensured that the soundings of the original piece were intact and interspersed a mockery of the interpretation.
The final part is the interpretation. The original section is hidden within the notes that have been squeezed in between, offering order and chaos.
The four sections work in a circle of fifths, moving from D to A, to E, to B with a G natural.
The piece is scored for piano and is available at http://bit.ly/2rR0L1f.
Really enjoyed this! A lovely composition.
I was lost on this project. Eventually I found something.
I improvised a piano melody (the first thing you hear), then set to work. First, to translate it, I sent it to a toy piano synth and mercilessly quantized it onto the beat.
Then, to transliterate it, I ran it through Ableton’s “Scale” plugin to invert the intervals from the original (all C’s remained C’s, all D’s became B’s…I think, I didn’t really look too closely at what I was doing). For both of these, I added some random pitch variation to represent translation errors, noise, and/or artifacts.
Finally, to interpret it, I sped it up and made it two octaves higher, then told Ableton to change that to MIDI and play it on a synth. The new melody follows the contours of the original melody (perhaps).
I just came back from a retreat where we performed a lot of Pauline Oliveros, and I think I am in a meditative mood, so the piece unfolds pretty slowly and sparsely. The opening gestures come back sporadically to glue everything together.
Good explanation, nice piece.